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served, and by reason of the praises given by all to Lorenzo they determined that he should make a statue of bronze, four braccia and a half high, in memory of S. John the Baptist, on a pilaster without Orsanmichele, in one of the niches there—namely, the one facing the Cloth-dressers. This he began, nor did he ever leave it until he delivered it finished. It was and still is a work highly praised, and in it, on the mantle, he made a border of letters, wherein he wrote his own name. In this work, which was placed in position in the year 1414, there is seen the beginning of the good modern manner, in the head, in an arm which appears to be living flesh, in the hands, and in the whole attitude of the figure. He was thus the first who began to imitate the works of the ancient Romans, whereof he was an ardent student, as all must be who desire to do good work. And in the frontal of that shrine he tried his hand at mosaic, making therein a half-length prophet.

      The fame of Lorenzo, by reason of his most profound mastery in casting, had now spread throughout all Italy and abroad, insomuch that Jacopo della Fonte, Vecchietto of Siena, and Donato having made for the Signoria of Siena some scenes and figures in bronze that were to adorn the baptismal font of their Church of S. Giovanni, the people of Siena, having seen the works of Lorenzo in Florence, came to an agreement with him and caused him to make two scenes from the life of S. John the Baptist. In one he made S. John baptizing Christ, accompanying it with an abundance of figures, both nude and very richly draped; and in the other he made S. John being taken and led before Herod. In these scenes he surpassed and excelled the men who had made the others; wherefore he was consummately praised by the people of Siena, and by all others who have seen them.

      The Masters of the Mint in Florence had a statue to make for one of those niches that are round Orsanmichele, opposite to the Guild of Wool, and it was to be a S. Matthew, of the same height as the aforesaid S. John. Wherefore they allotted it to Lorenzo, who executed it to perfection; and it was much more praised than the S. John, for he made it more in the modern manner. This statue brought it about that the Consuls of the Guild of Wool determined that he should make in the same place, for the niche next to that, a statue likewise in bronze, which should be of the same proportions as the other two, representing S. Stephen, their Patron Saint. And he brought it to completion, giving a very beautiful varnish to the bronze; and this statue gave no less satisfaction than the other works already wrought by him.

      The General of the Preaching Friars at that time, Maestro Lionardo Dati, wishing to leave a memorial of himself to his country in S. Maria Novella, where he had taken his vows, caused Lorenzo to construct a tomb of bronze, with himself lying dead thereon, portrayed from nature; and this tomb, which was admired and extolled, led to another being erected by Lodovico degli Albizzi and Niccolò Valori in S. Croce.

      After these things, Cosimo and Lorenzo de' Medici, wishing to honour the bodies and relics of the three martyrs, Protus, Hyacinthus, and Nemesius, had them brought from the Casentino, where they had been held in little veneration for many years, and caused Lorenzo to make a sarcophagus of bronze, in the middle of which are two angels in low-relief who are holding a garland of olive, within which are the names of those martyrs; and they caused the said relics to be put into the said sarcophagus, which they placed in the Church of the Monastery of the Angeli in Florence, with these words below, carved in marble, on the side of the church of the monks:

      CLARISSIMI VIRI COSMAS ET LAURENTIUS FRATRES NEGLECTAS DIU

       SANCTORUM RELIQUIAS MARTYRUM RELIGIOSO STUDIO AC FIDELISSIMA

       PIETATE SUIS SUMPTIBUS ÆREIS LOCULIS CONDENDAS COLENDASQUE

       CURARUNT.

      And on the outer side, facing the little church in the direction of the street, below a coat of arms of balls, there are these other words carved on marble:

      HIC CONDITA SUNT CORPORA SANCTORUM CHRISTI MARTYRUM PROTI ET

       HYACINTHI ET NEMESII, ANN. DOM. 1428.

      And by reason of this work, which succeeded very nobly, there came a wish to the Wardens of Works of S. Maria del Fiore to have a sarcophagus and tomb of bronze made to contain the body of S. Zanobi, Bishop of Florence. This tomb was three braccia and a half in length, and two in height; and besides adorning it with diverse varied ornaments, he made therein on the front of the body of the sarcophagus itself a scene with S. Zanobi restoring to life a child which had been left in his charge by the mother, and which had died while she was on a pilgrimage. In a second scene is another child, who has been killed by a wagon, and also the Saint restoring to life one of the two servants sent to him by S. Ambrose, who had been left dead on the Alps; and the other is there, making lamentation in the presence of S. Zanobi, who, seized with compassion, said: "Go, he doth but sleep; thou wilt find him alive." And at the back are six little angels, who are holding a garland of elm-leaves, within which are carved letters in memory and in praise of that Saint. This work he executed and finished with the utmost ingenuity and art, insomuch that it received extraordinary praise as something beautiful.

      The while that the works of Lorenzo were every day adding lustre to his name, by reason of his labouring and serving innumerable persons, working in bronze as well as in silver and gold, it chanced that there fell into the hands of Giovanni, son of Cosimo de' Medici, a very large cornelian containing the flaying of Marsyas by command of Apollo, engraved in intaglio; which cornelian, so it is said, once served the Emperor Nero for a seal. And it being something rare, by reason both of the size of the stone, which was very great, and of the marvellous beauty of the intaglio, Giovanni gave it to Lorenzo, to the end that he might make a gold ornament in relief round it; and he, after toiling at it for many months, finished it completely, making round it a work in relief of a beauty not inferior to the excellence and perfection of the intaglio on the stone; which work brought it about that he wrought many other things in gold and silver, which to-day are not to be found. For Pope Martin, likewise, he made a gold button which he wore in his cope, with figures in full-relief, and among them jewels of very great price—a very excellent work; and likewise a most marvellous mitre of gold leaves in open-work, and among them many little figures in full-relief, which were held very beautiful. And for this work, besides the name, he acquired great profit from the liberality of that Pontiff. In the year 1439, Pope Eugenius came to Florence—where the Council was held—in order to unite the Greek Church with the Roman; and seeing the works of Lorenzo, and being no less pleased with his person than with the works themselves, he caused him to make a mitre of gold, weighing fifteen libbre, with pearls weighing five libbre and a half, which, with the jewels set in the mitre, were estimated at 30,000 ducats of gold. It is said that in this work were six pearls as big as filberts, and it is impossible to imagine, as was seen later in a drawing of it, anything more beautiful and bizarre than the settings of the jewels and the great variety of children and other figures, which served for many varied and graceful ornaments. For this work he received infinite favours from that Pontiff, both for himself and his friends, besides the original payment.

      Florence had received so much praise by reason of the excellent works of this most ingenious craftsman, that the Consuls of the Guild of Merchants determined to commission him to make the third door of S. Giovanni, likewise in bronze. Now, in the door that he had made before, he had followed their directions and had made it with that ornament which goes round the figures, and which encircles the framework of both parts of the door, as in the one of Andrea Pisano; but on seeing how greatly Lorenzo had surpassed him, the Consuls determined to remove that of Andrea from its position in the centre, and to place it in the doorway that is opposite to the Misericordia, and to commission Lorenzo to make a new door to be placed in the centre, looking to him to put forth the greatest effort of which he was capable in that art. And they placed themselves in his hands, saying that they gave him leave to make it as he pleased, and in whatsoever manner he thought it would turn out as ornate, as rich, as perfect, and as beautiful as it could be made or imagined; nor was he to spare time or expense, to the end that, even as he had surpassed all other sculptors up to his own time, he might surpass and excel all his own previous works.

      Lorenzo began the said work, putting therein all the knowledge that he could; wherefore he divided the said door into ten squares, five on each side, so that the spaces enclosing the scenes were one braccio and a third in extent, and round them, to adorn the framework that surrounds the scenes, there are niches—upright, in that part of the door—containing figures in almost full-relief, twenty in number and all most

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